Hanqavan bouquet with narcissus 1962

Curator: Welcome. We’re standing before Mariam Aslamazian’s “Hanqavan Bouquet with Narcissus,” painted in 1962 using oil paints. What are your initial thoughts? Editor: It’s wonderfully chaotic, isn't it? A floral explosion, vibrant, almost aggressively cheerful! I'm drawn to the raw energy. Curator: Aslamazian, a prominent figure in Armenian art, created this during a period where social realism was the norm. Her vibrant, expressionistic style offered a counterpoint. The bouquet becomes not just a collection of flowers but a bold statement. Editor: You know, it almost feels like she wrestled those colors onto the canvas. Look at the impasto, those thick strokes. There’s a defiant joy in that texture. It’s like saying, “Yes, even amidst… well, everything… life is riotously beautiful.” Curator: Indeed. There is something incredibly courageous about maintaining such an optimistic palette amidst socio-political constraints. Aslamazian and her sister Yeranuhi were active participants in Soviet artistic life but always maintained a very singular style. Editor: Those narcissi, though—they’re almost staring, aren't they? Those bold white shapes against the melee of colors feel like little beacons of resilience. It's amazing to me that a still life, of all things, can feel so alive! Curator: Aslamazian pushed the boundaries of genre, really, making the still life an incredibly charged space. Some consider her part of the “naive art” tradition but that limits our understanding; she studied art academically but had an unfettered emotional vision, regardless. Editor: “Unfettered” - I love that! This piece doesn't politely whisper, it shouts from the rooftops about the joy of seeing, the act of noticing the overwhelming abundance that’s always there. Thanks for this little shot of sunshine. Curator: My pleasure. Aslamazian’s legacy invites us to consider the politics of joy and vibrancy in the face of often grey realities.